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An Architectural History of the Canterbury Hebrew Congregation

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An Architectural History of the Canterbury Hebrew Congregation An Architectural History of the Canterbury Hebrew Congregation Gay Sweely During the 1960s and 70s, many important structures in Christchurch were un- 1 These developments were reported sympathetically demolished due to the lack of heritage laws and the introduc- in the local newspapers, the Lyttelton Times, the Press (Christchurch) and the tion of new construction codes for withstanding seismic activity. Noted historian Otago Daily Times. The newspapers of- John Wilson recorded some of these buildings in Lost Christchurch (1984). Four ten carried notices or reports of inter- years later, the heritage-protected synagogue of the Canterbury Hebrew Con- est to the Jewish community, especially gregation in Gloucester Street met the same demise. In the middle of that year, those solemn days observed throughout the year. In addition, news from other the site contained only rubble from a building that had been loved and admired New Zealand Jewish communities was by many: Jews, local residents and visitors alike. Today, few people walking in also reported by the local press. The Gloucester Street would realize that a once-stately polychrome building proudly Archives of the Christchurch Hebrew Congregation contain a large number of occupied what is now a vacuum of asphalt paving. newspaper clippings, from which many of the details in the present account are This paper outlines the design, construction and ultimate loss of T. S. Lambert’s taken. Further details were obtained Christchurch synagogue. To contextualize the building’s design and construc- from personal interviews with S. Cook tion, the paper also considers earlier synagogues in Australia and other New and S. Bures. Zealand cities. The final section discusses the loss of the Gloucester Street build- ing and the re-use of various elements from it in the replacement, Durham Street synagogue, which continues to serve the Canterbury Hebrew Congregation’s present-day needs. T. S. Lambert’s Synagogue In the early 1860s, gold was discovered on the West Coast near Hokitika, and a small group of Jewish miners and merchants established a congregation on the goldfields. When the gold deposits subsequently dwindled, the Jews of Hokitika and South Westland settled in the Canterbury area. The Torah from the Hokitika congregation was sent and proudly displayed in Christchurch (CHC, 1963b: 11). This combined congregation offered lectures, meetings and social functions dur- ing the late 1860s, as recorded in various articles, advertisements and notices in the local newspaper, the Press. In 1870, the Rev. Isaac Zachariah arrived in Christchurch from the West Coast and, until 1905, provided substantial leadership, hitherto offered only by lay members. During the 1870s, New Zealand Anglo-Jewish Associations and the Jewish Philanthropic Society were formed, as well as a Hebrew school (though informal until 1890) for the study of Judaic literature in the Canterbury 1 Hebrew Congregation. Although the Canterbury Hebrew Congregation was steadily growing, Jewish immigration to New Zealand had historically been low. In the 1870s and 80s, Jews immigrating to New Zealand and Australia were no longer only from Great Britain. The majority of the new immigrants were eastern-European Jews escap- ing waves of pogroms and massive episodes of oppression. The Hebrew congre- gation in Canterbury had expanded so much by 1875 that a meeting was held 95 Fig. 3: The lower level. Drawn by Jonathan Rollins. Fig. 4: The interior, showing the ceiling, gallery and circular window. Drawn by Fig. 3 Fig. 4 Jonathan Rollins. The exterior fronting Gloucester Street East has an elevation of much 2 “The great majority of the new larger Fig. 1: The circular Star of David originality, the chief feature in it being a large circular window, the commercial buildings of the 1870s and stained-glass window in Lambert’s 1880s, and beyond … were Italianate, a building. Drawn by Jonathan tracery of which takes the form of the double triangle (Fig. 1). On either style common in other New Zealand cit- Rollins, Department of Art & Design, side are smaller windows harmonising with the first, and below are ies … [and] many of the city’s imposing Eastern Kentucky University. a pair of handsomely panelled entrance doors... admission is gained Italianate buildings came also from the Fig. 2: The Ark. Drawn by hands of other architects like T. S. Lam- Fig. 1 Fig. 2 through a vestibule, paved with marble in a lozenge pattern.... Two Jonathan Rollins. bert” (Wilson et al., 2008: 81). doors hung so as to open in either direction, lead to the main build- to discuss more suitable accommodation. A building committee was selected to ing. Here, the most striking feature is the decorations at the South end decide on congregational requirements, available funding and an appropriate of the building. This is where the Ark is situated (Fig. 2). The Ark itself architect. The Canterbury-area Jewish community banded together and raised, in is a large receptacle, lined with red velvet and enclosed with two mas- a very short time, £4,000 – quite a feat for such a small congregation. The promi- sively carved sliding doors. In front of these hangs a white silk veil.… nent Christchurch architect Thomas Stoddart Lambert (1840-1915) was selected. The gallery is supported by iron fluted pillars, having capitals orna- mented with lilies and pomegranates (Figs. 3 and 4).... The lighting Lambert’s designs in Canterbury prior to 1880 had included churches, residences, by day is provided by four double windows on each side, filled with schools, commercial buildings and rural hotels. The Jewish community would cathedral glass, and outlined by glass of more brilliant colours, the have been aware of many of these structures, but they were probably more aware same colours being introduced into the large North window. (New of his commercial buildings on High Street for Mark Marks, W. Simpson and Synagogue, 1880: 2) B. Simpson, as Marks was a member of the Canterbury Hebrew Congregation The Christchurch synagogue was an eclectic mixture of architectural styles. (CHC, 1963c: 11). Born in Selkirk, Scotland, Lambert served his articles there be- Lambert designed in the classical style, as well as the Venetian Gothic and fore extensive travel and a brief residence in London. He arrived in New Zealand 2 Gothic styles. It was a basilica-like structure: the white vertical rusticated bands in early 1866, working on various structures north of the Wellington Province. could easily be massive columns or pilasters. A classical pediment appeared at In 1874, he moved to Wellington but was not optimistic about building prospects the apex, but Gothic window hoods broke up the classical approach. there and thus moved to Christchurch, where he entered the office of Frederick Strouts, who in 1871 had been one of four founding members of the Canterbury Lambert’s use of rustication and constructional polychromy placed the syna- Association of Architects (Stacpoole, 1976: 163). Under Strouts’ supervision, Lam- gogue comfortably within the Canterbury architectural aesthetics of the time. bert “personally surveyed the entire city of Christchurch” (Cyclopedia, 1903: 581). Lambert effectively married classical, Gothic and Scottish elements into a very In 1877, Lambert formed his own architectural firm. He was most likely selected distinctive South Island design. The small Canterbury congregation seemingly for the new synagogue because of his professional reputation: “His contracts was pleased with both the interior design, which was reminiscent of British syn- [were] finished without extras, and their total cost [was] usually somewhat under agogues, and the ornamental exterior: “It had taken more than a year in building his written estimate previously given” (Cyclopedia, 1903: 581). and all the records show that it was considered by all present to be a very hand- some building and worthy of the Jewish citizens of Christchurch at that time” A successful local Christchurch contractor, W. Prudhoe, was selected for the (CHC, 1963c: 14). synagogue construction. Prudhoe had served as contractor for architect Samuel Farr, known for the Christchurch Mechanics Institute, and had completed se- veral Government contracts (Akaroa Civic Trust, n.d.). An 1880 newspaper article Early Synagogues in New Zealand reported that the new synagogue design was unique and that its façade design The mid-nineteenth-century English Jews who settled in New Zealand would would be clad in blue, white and yellow stone, with exterior walls of brick. As the have been familiar with many synagogues around Great Britain, and perhaps account notes, the new synagogue was completed in November 1880: in Continental Europe and Australia. On the continent, architects of synagogues built during this period were experimenting with various styles, such as Roman- INTERSTICES 09 97 3 There is no archival information linking esque, Byzantine, classical, Moorish and German Gothic. However, this eclecti- Provincial Council. By the early 1860s, the Dunedin congregation was outgrow- 6 The style of the Dunedin synagogue is along the lines of More Park, Hertford- the South Island’s Louis Edward Nathan cism in design did not surface in the architecture of English Jewry (for example, ing its wooden synagogue and had to consider building a larger structure on a to David Nathan of Auckland (Clements, shire, especially the central pedimented 2008). Hambro and Bevis Marks in London), for reasons of discretion and financial “more suitable and central site” (Balkind, 1928: 12). Thus, in early 1863, the con- porch and the verticality of the structure. constraints. The Gothic Revival style of the Church of England was held in gregation advertised for a permanent minister and began to discuss the feasibi- 4 There is no ancient tradition governing 7 Nathan served as president of the the separation of the sexes or placement anathema by Jews for its Christian connotations. lity of a new synagogue in a different location. Canterbury Hebrew Congregation from of women in a gallery.
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